Direction: Raja Mithran
Music: Thaman
Production: Sri Rajalakshmi Films
Following the success of Eeram, actor Aadhi opts for a commercial film Ayyanar that is laced with family sentiments, action and suspense. Debutant Raja Mithran takes on with a family drama that is interwoven with a mysterious backdrop in tale.
The film opens with Prabhakar (Aadhi) burying his
dead brother Saravanan (Vishnu Priyan) and mimicking as him over the phone to his mother. Cut to flashback of 2 years time, the film is set in backdrops of Kumbakonam depicting Prabhakar as a devil-may-care lad. Younger brother Saravanan, the breadwinner of the family happens to be his only envy as his family members pamper him. This incisively leads to a blind assumption behind the shocking act of Prabhakar. But the tale proceeds in unexpected paths with an incredulous suspense unraveled at climax.
Filmmaker Raja Mithran has composed a family drama that involves the projection of egoistic problems persisting between siblings. Similarly, the behavioral attitude of family members of how they treat them with their own accordance is also portrayed. The cryptic 15 minutes prologue appears effective. But in later point of time, the screenplay goes disoriented as audiences fail to differentiate between the present and flashback sequences with realms of many illogical elements.
It looks like Aadhi purposely opted to jump into the shoes of mass-hero. Unlike his previous flicks, Ayyanar tries to depict him in a larger-than-life role, where he chews beedas, smashes down dozen of roughnecks at the same time and gets into dream sequences for duets with Meera Nandan.
Heroine Meera Nandan’s role is restricted to same degrees of what other heroines get to play in usual commercial potboilers. A big disappointment for Santhanam fans as the actor doesn’t appear more than a couple of scenes. Having promoted the film with his solo images with looks of Osama Bin Laden, it turns out to be a letdown for them. Jayaprakash sleepwalks through the role of a strict father.
Director Raja Mithran fails to focus upon certain things, which happens to be a blatant flaw in the tale. The basic confusions break open with the protagonist’s decision of hiding the death of his brother. His reasoning remains unjustified even after the show. If the filmmaker had scrupulously concentrated in these areas, it would have been better. The scene involving Aadhi’s escape from a bunch of policemen surrounding him is exceptionally displeasing. How could the director conceptualize such an amateurish sequencing? The complete drama of police investigation acts as a spoiler.
Thaman limits himself to the same pattern as the songs remind you of some of his other albums. The title song ‘Kuthu Kuthu’ with the wild choreography is a special treat for the masses and ‘Pacchai Kili’ is a dulcet melody well picturized by cinematographer Sethu Sriram.
Ayyanar stands in the passable league that can gratify the audiences, who are least, bothered about logics.
